Pennsylvania Museum Bulletin. Number 38, April 1912

RULLETIN

LI OF THE

PENNSYLVANIA
MUSEUM

PUBLISHED QUARTERLY BYTHE PENN
SYLSANIAMUSEUM AND SCHOOL OF IN '
DU STPIAL APT MEMORIAL HALL EA IP
IOUNT IWttPHILADELPHl

^hO[

SUBSCP1PTION 1J)0 AVEAtl

APRIL, 1912

atarad, August 27, )-*)3. at Philadelphia, Pa., a* Second-Class Mailer, under Act of Conzress o( July 16, 18!M

P E N N S Y L VA N I A MUSEUM

AND SCHOOL OF INDUSTRIAL ART

ffioavo of trustees

The Governor of the State, Ex-Of.

The Mayor of the City, Ex-Of.

Charles Bond
James Botterworth
John G. Carruth
Isaac H. Clothier
Charles E. Dana
Thomas Dolan

Harrington Fitzgerald
Charles H. Harding
Mrs. John Harrison
Thomas Skelton Harrison
John Story Jenks
John H. McFadden
John T. Morris

©fficers

John W. Pepper
Theodore C Search
Edgar V. Seeler
Edward T. Stotesbury

Jones Wister
William Wood

Vice-Presidents

THEODORE C SEARCH, President

JOHN STORY JENKS,

ISAAC H. CLOTHIER,

JAMES BUTTERWORTH, Treasurer

EDWIN ATLEE BARBER, Secretary

LESLIE W. MILLER, Principal of the School

\ VI

EDWIN ATLEE BARBER, Editor

Bulletin

jfov Bpril, Nineteen MunoreD ano twelve
CONTENTS

Drawipg Room Set of Furniture, Louis XVI. Period, by
Mrs. Cornelius Stevenson

Wall Table, of Boulle Style, XVIIIth Century, by

Mrs. Cornelius Stevenson
Old American Silver .....

Old Glass

Notes ........

Accessions . .

BaGceGii)

OF Dfi6

peDDSYiyflDifl

April, 1912 Number 38

TENTH YEAR

DRAWING ROOM SET OF FURNITURE
LOUIS XVI PERIOD

At a sale held in the Philadelphia Art Galleries on January 31, 1912, of
the effects of the Lenox estate, some authentic furniture known to have been
in the possession of Major David Lenox and his niece, Miss Sallie Lukens
Keene, was obtained for the Museum. This proves a valuable addition to
its collections. The purchases consist of a set of drawing-room furniture of
Louis XVI period, including two sofas and six arm chairs. Three "conver-
sation" chairs with a padded top-railing on which the gentlemen rested their
arms, when straddling the chair, by which attitude their handsome brocaded
coats were kept in their pristine condition of smoothness and beauty, make up
the eleven pieces of the set. In France these chairs were called "Voyeuses" or
"Voyelles." They were used by men, as above described, for conversation and
also by such as surrounded a gaming table to watch the game. They came
into vogue about 1740 and did not survive the eighteenth century. They are,
therefore, very rare. In an inventory of Germain Soufflot's effects taken at
the Tuileries (August 29, 1780) is the following entry: "A sofa of tapestry,
twelve arm chairs of red Utrekt velvet, four small voyeuses also of velvet, of
which two in red velvet and two green." * * *(1)

Madame Campan<;2) telling how her father-in-law informed Louis XVI that
Comte d'lristal was planning to carry off the royal family, says : "The King was
playing whist with the Queen, Monsieur and Madame. Madame Elizabeth was
kneeling on a 'voyeuse' near the table." Some "voyelles" had an open-work
lyre-shaped back with padded top-railing. In those that form part of the
Lenox-Keene set, however, the backs are plain and upholstered in the same
material as the rest of the furniture.

CD Havard IV., p. 1785.
(2) Memoires, p. 268.

i8

BULLETIN OF THE PENNSYLVANIA MUSEUM

The woodwork is of carved wood, white and gilt. In some of the pieces,
the canary-colored silk coverings, upholstered with blue silk galloon one and
one-half inches in width, are in a fair state of preservation. In others, they
are much dilapidated, but even in these the woodwork is admirably preserved.
The backs of the sofas are draped with canary-colored silk, edged with blue
tasseled fringe. Casters were added at a later date, probably to raise the height
of the sofas, which, as characteristic of their epoch, are very low.

FRENCH FURNITURE
Louis Sixteenth Period

Two tabourets of later date are of heavier empire style, decorated with
massive wreaths of gilt. A pair of gilt fire-screens standing on claw-feet, and
a handsome white and black marble clock of empire style, with ormolu mount-
ings, also form part of the purchase bv the Museum.

Major David Lenox, the original owner, was a well-known Revolutionary
Army officer who, at one time, represented this country at the Court of St.
James. He is said, by family tradition, to have bought this furniture in Paris
before the Revolution. It was later shipped to this country from England.
Major Lenox, after the Revolutionary War, was for many years a director in
the P>ank of the United States and succeeded Thomas Willing as President of
that Corporation in 1807, remaining in office until the winding up of its affairs.
In 1813 he was elected president of the Philadelphia Bank, retaining the office
until 1818. After this, he spent the end of his days "in dignified retirement"
and died in 1828 at the house at Tenth and Chestnut Streets built by him.

Major Lenox's wife was Miss Lukens, of Montgomery Countv, a descend-
ant of John Lukens, Colonial Surveyor General of the Province. Of local

BULLETIN OF THE PENNSYLVANIA MUSEUM

19

20 BULLETIN OF THE PENNSYLVANIA MUSEUM

interest is it to know that they were married in the west parlor of the Wister
House. Belfield, in Germantown, which they occupied for a time. He was
elected to the First City Troop (1777). then called Philadelphia Light Horse.
His exploits and narrow escapes during the Revolutionary War form the
subject of interesting stories in Westcott's "Historic Mansions and Buildings
of Philadelphia." He was. among other public offices, appointed Commis-
sioner in Bankruptcy for Pennsylvania and held the office until 1790. In 1793,
he succeeded Clement Biddle as Marshall of the United States for the district
of Pennsylvania.

It is of record that in 1785 he was living in Spruce Street between Second
and Third Streets. 1794. however, found him in Vine Street near Third. He
also resided in a fine mansion which he erected in Arch Street (South Side)
east of Ninth Street next to the corner lot, which then was his garden. Here
he remained until 181 1, Thomas Cadwalader succeeding him. Major Lenox
then moved to No. 286 Chestnut Street — where he lived while building what
was then regarded as an elegant mansion, at the northwest corner of Tenth
and Chestnut Streets, where he died. It was a brick house, three stories high,
with loftv garrets. The brick-work was of the most elaborate character yet
seen here, the plain walls being broken with pilasters, arches and other archi-
tectural devices. It is also on record that the superior architecture of this
house attracted much attention. At his death without children, the house and
its contents passed into the possession of a niece of his wife. Miss Sallie Lukens
Keene. This lad}- had been a great beauty in her day. celebrated for her wit
and many graces. She was a daughter of Major Lawrence Keene, of Sunbury,
a highly reverenced figure of Revolutionary days, and of Miss Lukens, a
sister of Major Lenox's wife. An interesting account of her is given in the
issue of the Sunday Dispatch of August 11, 1872, in answer to a correspondent's
question with regard to the mansion at Tenth and Chestnut which was eventu-
ally sold to the Mutual Life Insurance Company of New York. It would
seem that the side lot of the mansion had been intended by the Major for a
residence for his niece in the event of her marriage — should it meet with his
approval. The writer of that account remembered, as many others then did,
the taking of Miss Sallie L. Keene to Europe in the beginning of the nineteenth
century, under the reign of one of the Georges. She was presented at Court
where she created quite a sensation. On her return she had many serious
admirers. A well-known brewer, among the rest, proposed to her but was
rejected. Mrs. Lenox remarking that she "had not taken Sally to Europe that
she might on her return marry a brewer."

Miss Keene continued to live in the Lenox mansion until 1866. when she
died in her eighty-sixth year. She is buried in St. Stephen's Churchyard.
The old Keene Mansion had undergone no changes since its erection nor had
the furniture been in any way altered. In her obituary notice in the Philadelphia
North American and United States Gazette, May 6, 1866. the statement is
made that she could repeatedly have disposed of her homestead at a very large
price but. to the last, refused to part with it. In her will she devised the
mansion and lot to three nephews and nieces of Major David Lenox, bttt

BULLETIN OF THE PENNSYLVANIA MUSEUM 21

devised the furniture of the said house "All and entirely with my silver plate
and my wearing apparel and my jewelry, except such articles as I shall here-
after name, with all my books and musical instruments, everything in the
house to my beloved niece, Ellen Keene."

At the death of this niece, some years ago, who had subsequently married,
certain bequests of Miss Keene's became operative and in the course of the
settlement of the estate, the furniture came under the hammer — with the
result that the pieces enumerated above found their way to the Pennsylvania
Museum and School of Industrial Art — where they will remain undisturbed
and cared for to the end of time. S. Y. S.

WALL-TABLE OF BOULLE STYLE XVIII CENTURY

At the same sale of furniture forming part of the Lenox Estate, which
took place on January 31 , 1912, the Pennsylvania Museum also acquired, through
the generosity of Mr. John H. McFadden, a fine old Boulle wall-table which,
according to a tradition handed down in the Keene family, was purchased in
Paris by Major Lenox before the Revolution, and shipped from England with
the rest "of his possessions on his return to this country. Judging from the
table itself, the specimen is probably of Louis XV or early Louis XVI manu-
facture. The legs are curved after the fashion of the Louis XV period in
contrast to another eighteenth century Boulle table in the Museum's collection,
which is of pure Louis XVI, and the legs of which are straight according to
the style in vogue in the last quarter of the eighteenth century. The same
difference exists in the style of ornamentation. In the Lenox-Keene piece
the copper gilt inlay is more elaborate and represents a definite scene with
animated human figures as well as scrolls and conventional designs. The
surfaces of inlay are somewhat larger and richer than are those observable
in the purelv conventional geometric designs of the later period which are
executed with a noticeable lack of imagination.

As an art, the work of Boulle may be traced back in its inspiration to Italian
marqueterie. One of the important effects of the royal matrimonial alliances
between the reigning house of France and the House of Medici, in the sixteenth
century was the influx of Italian artists and artisans that spread over the
country and influenced French industries. Incrustations in the Italian taste,
mosaic, painted plates, ivory, mother-of-pearl and even amber inlays appeared.
Brass inlay and tortoise shell applied on wood followed, and this technique
took the name of its principal exponent, "Boulle." It is about this time that
the console table and the "gueridon" are first seen. Under Louis XIV the
"ebeniste" Lepautre proceeded directly from the Italians, and Domenico Cucci,
"ebeniste et fondeur" — as appears from the account books of the time, was
noted for ornate ebony cabinets ornamented with Florentine mosaic work, and

22

BULLETIN OF THE PENNSYLVANIA MUSEUM

superb bronze door-handles, locks, bolts and mountings. It is not unlikely
that some of the bronze ornaments used on Boulle's furniture came from him.
Filippo Caffieri another noted artist fills the gap between Cucci and Lebrun.
Andre Charles although credited with the invention of the style of Marqueterie,
known as Boulle, was obviously not the first to do this work. Father Orlando
in his "Abececlario Pittorico" published in 1719 — i. c. during the life of
Andre Charles, and therefore probably exact — states that the artist must have
devoted his time to painting had not his father, artisan cabinet-maker ( artifice
ebenista) influenced him to follow his art. Who was this father? No one
knows, save that he inhabited Paris, since Andre Charles was born there on
November n, 1642. Charles Read, who tried to solve the riddle, discovered
that the Boulle family was of Protestant origin and belonged to the Reformed
Church of Charenton. Certain official documents found by him state that as
early as 1 61 9 a certain Pierre Boulle was cabinet-maker to the King and lodged

BOULLE TABLE
Latter Half of Eighteenth Century
Given by Mr. John H, McFadden

BULLETIN OF THE PENNSYLVANIA MUSEUM

23

in the Louvre. His wife was Marie Bahuche, a sister of Marguerite Bahuche.
widow of the famous Jacques Bunel, first painter to Henry IV and herself a
painter. But the free lease of the Louvre lodgings made over to the painter
Thomas Picquot "in the place of the late Sieur Boulle, Carpenter in ebony"
is dated January 2, 1636; which conclusively proves that this could not have
been the father of Andre Charles, who was born six vears later. Thanks to

i

TOP OF BOULLE TABLE

Mr. Read it is known that this man had five children of whom three were
sons — one of these may have been his father, provided he married young.

There is, however, another Pierre Boulle. also royal cabinet-maker, on
record in the royal archives who was paid a salary in 1636, "up to August 1st."

Of all this, the only certain fact is that Andre Charles was not the founder
of the celebrated family of artisans, as some twenty years before he began
work, furniture was already made in marqueterie, of which shell and burnished
copper inlays furnished the decoration, as appears from the "Inventaire du
Cardinal de Mazarin," drawn 1653, when our artist was only eleven years of
age. A piece is therein described : "Another cabinet of tortoise shell and
ebony inlaid with copper gilt on the sides, carried on four monsters of copper
gilt. The four corners provided with copper gilt corners, a jour, with leaves,

24 BULLETIN OF THE PENNSYLVANIA MUSEUM

masques, cartouches and animals, the front of drawers of copper gilt with
figures representing divers fables of Ovid's 'Metamorphose,' set into surfaces
of tortoise shell."'3'

However this may be. Andre Charles Boulle was the most famous cabinet-
maker of this epoch. He lived at the Louvre where he was born in 1642. Two
of his family were "menuisiers du roi" before him and lodged in the Louvre,
although it is not clear what relation he bore to Jean and Pierre Boulle, the
latter of whom died at the Louvre in 1680. Andre Charles started life as an
artist and little is known about him until the year 1672, when he is on record
as having been granted the lodgings in the Louvre become vacant by the
death of Jean Mace, because of his experience as "ebeniste, faiseur de Mar-
queterie, doreur et ciseleur du roi." A second grant, bearing date 1679. adds
to the above the half-lodging formerly used by Guillaume Petit, in order
that he might complete the works ordered of him by his Majesty.

Father Orlando'4' is responsible for the information that Boulle also was
an architect, painter and sculptor in mosaic, as well as a draftsman of mono-
grams and Keeper of the Royal Seals. From various accounts it would appear
that no branch of art was foreign to him. and his personality was such that
he could hardly be classed among cabinet-makers pure and simple.

At first, he seems to have worked in wood "marqueterie" and he long
continued at this style of workmanship. In the second half of his life, he
became penetrated with the great compositions of Lebrun, and it is then that
he composed those fine pieces of shell and copper inlay, with fine gilt figures —
some of which have been preserved in museum collections. Later again,
influenced by Berain, who, in turn, was largely indebted to Lebrun, he made
use of the grotesque and added to gilt copper, tin inlays. It has been said
that his four sons "aped" him, but some good pieces have been preserved from
their workshops, and their work is far from representing all that has been
left in imitation of Boulle. In the early years of Louis XVI the Boulle fashion
returned and his work was again copied. But these later pieces have no
longer the large vigorous execution of the master and they offer a fineness
of execution unknown to him. The first are gilt in ormolu while the others
are gilt in "or mat" a style in which some of the effect is lost.

In the earlier examples of the style made by Boulle. the inlay was pro-
duced at great cost, owing to the waste of material in cutting, and the shell
is left of its natural color. In the later work the manufacture was more
economical. Two or three thicknesses of the different materials were glued
together, and sawn through at one operation. An equal number of matrices
or hollow pieces exactly corresponding, were thus produced, and, by counter-
charging, two or more designs were obtained bv the same sawing. These

(3) Havard III., 736, Paris. Quantiu.

See also A. de Oiampeaux "Le Meuble," p. 6 and following.

Comp. witli "Pierre et Charles Andre Boulle" (Archives de l'art Franqais I., IV.).

Also with Charles Asselineau, "Andre Boulle, Ebeniste de Louis XIV."

Also Esther Singleton, "Furniture." p. 50-191 1.

hi Abecedario Pittorico.

BULLETIN OF THE PENNSYLVANIA MUSEUM 25

are technically known as boulle and counter, the brass forming the ground
work and the pattern alternately. In the later "boulle" the shell is laid on
a gilt ground or on vermilion as in the Lenox-Keene table. Sometimes the
two styles are distinguished as the first part and the second part. The general
opinion on the relative value of each seems to be that, while admitting the
good effect of the two styles as a whole, the first part should be held in higher
estimation as being the more complete. In this may be seen with what intel-
ligence the elaborate graving corrects the coldness of certain outlines ; the
shells trace their furrows of light, the draperies of the canopies fall in cleverly
disordered folds, the grotesque heads grin, the branches of foliage are lightened
by the strongly marked edges of the leaves, and everything lives and has a
language. In the counterpart we can find only the reflection of the idea and
the faded shadow of the original/5'

The specimen just secured for the Museum shows boulle and counter, the
brass forming both groundwork and design.

From 1673, accounts of royal edifices frequently mention Boulle, who
worked on a salary, beside extras. In 1681, eight thousand livres were paid
him for an organ-cabinet finished with gilt bronze ornaments.

He did important work for the Dauphin at Versailles ; and a large coffer
on a console by him is in the San Donato Collection. He also executed orders
for foreign Courts — Spain, Bavaria, Lorraine, etc. The man, however, was
always in money difficulties. He was a collector of prints and bought often
on credit. In 1704 the King had to stand between him and his creditors on
promesse that he would pay them. Sixteen years later, however, his workshop
was destroyed by fire at a direct loss amounting to 221,380 livres — while in
orders for customers his losses were estimated at 72.000 livres. besides work
on hand of his own, 30,000 livres. The sum total of his losses it is said,
amounted to 383,780 livres.

Andre Charles Boulle died in 1732. His son Charles Joseph died at the
Louvre in 1754. The business was then continued by his two first cousins,
Pierre and Pierre Thilmant — Boulle.

Most of the numerous works of Boulle have been repaired, and copied
by clever pupils. In the second half of his long life, in his own designs he
seems to have followed Lebrun, and his brass marqueterie is generally on a
field of black tortoise shell. Later he adopted the more fanciful style of
Berain. "draftsman of the Royal Chamber and Cabinet" — who likewise lived
at the Louvre and had been trained in Charles Lebrun's atelier which turned
out so many artists — spreading his mythological or comic figures on a field
of tortoise shell made to reflect various colors. He also used the designs
of other artists ; and Domenico Cucci finished many gilt bronze ornaments
and reliefs for his furniture. His imitators were many, and they gradually
strayed more and more from the master's models, until in the late eighteenth
century their ornamentation is without character — finicking in style and largely
made of tin. S. Y. S.

(5) Havard. loc. cit.

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BULLETIN OF THE PENNSYLVANIA MUSEUM

OLD AMERICAN SILVER

Philadelphia had many prominent silversmiths in the latter part of the
seventeenth century and through the eighteenth and nineteenth. Believing
that much of the silverware produced from the earliest times in this city is
still preserved by the older families, the Museum Committee recently authorized
the Director of the Museum to communicate with all of the members of the
Pennsylvania Museum and School of Industrial Art, and others, asking for
contributions of such pieces as could be identified as of American manufacture.
Numerous responses to this appeal have already been received, with offers of
many interesting examples as permanent or limited loans.

Silver Creamer, by Christian Wiltberger
Silver Coffee Pot and Creamer, by Joseph Shoemaker, Philadelphia

The recent exhibition of early American silver in several of our art
museums has brought out the fact that Philadelphia was at a very earlv period
an important centre of the silversmith's art. By carrying out the policy
adopted by this Museum some years ago, of building up collections illustrating
the various industrial and ornamental arts in this country, large and important
historical collections of American pottery and porcelain, glassware and pewter
have been gathered together. It is now the intention of the management to
increase the collections of American metalwork in the various branches of

BULLETIN OF THE PENNSYLVANIA MUSEUM 27

Silver Creamers, by Philip Syng and Joseph Lownes, Philadelphia
Silver Can, by W. Ball, Philadelphia

Silver Coffee Pot and Tea Pot
Lent by Mrs. Thomas Skelton Harrison

28 BULLETIN OF THE PENNSYLVANIA MUSEUM

the art, such as iron work, brass work and plate. Already the Museum has
on exhibition an important group of early American iron work and brass, and
the nucleus for a collection of silver.

Among the examples of American silver acquired by the Museum may
be particularly mentioned a coffee pot and cream jug made by Joseph Shoe-
maker. Philadelphia, about 1797, the coffee pot being marked with his name
in full; a creamer by Christian Wiltberger, Philadelphia, about 1793; a small
creamer by Joseph Lownes, Philadelphia, about 1796; creamer by Philip Syng,
Philadelphia, about 1780; can by William Ball, Philadelphia, about 1788, lent
by Mrs. Cornelius Stevenson ; coffee pot of American make, but unmarked, of
the period of about 1770- 1790, with inscription on base stating that it once
belonged to General Washington. This beautiful example has been lent by
Mrs. Thomas S. Harrison.

Among the American makers of flat ware (spoons, forks and sugar tongs)
are the following:

Philadelphia: James Musgrave. about 1797: William Walker, 1796-1811;
A. Brasier, 1797-1819; James Howell, about 181 1; Allen Armstrong, about
1814; T. Fletcher, about 1824: R. & W. Wilson, about 1831 : Stockman &
Pepper, about 1831 ; H. J. Pepper, about 1835; G. K. Childs, about 1837:
James Wriggins, about 1841.

Burlington, X. 1.: Nathaniel Coleman, about 1819; J. P. Fireng, about
1830.

The following manufacturers are also represented : N. Olmsted & Son,
Xew Haven, Conn., about 1830; George Baker. Providence. R. I., about 1825;
J. O. & W. Pitkin, Hartford. Conn., about 1830: William Homes, Boston,
Mass., about 1780: S. & E. Roberts, about 1830; I. Tanguy, about 1825.

OLD GLASS

Some important additions have been made to the collection of old glass.
Among these are two remarkable examples of Mexican glass of the eighteenth
century, consisting of an enormous tumbler, or pulque glass, measuring twelve
inches in height and ten inches across the mouth. It is decorated with floral
designs cut into the surface and gilded. The gold shows traces of having
been reheightened with black or dark green pigment and other colors, which
have for the most part worn off. The other piece is a vase fifteen inches in
height, similarly decorated. These pieces were presumably produced in Puebla,
.Mexico, under Spanish influence, the vase in particular "being a characteristic
old Spanish form.

A similar vase, but of about half the height, has been deposited in the
collection by Mrs. Cornelius Stevenson. This specimen was procured in Mexico

BULLETIN OF THE PENNSYLVANIA MUSEUM 29

000

x j= ■=

S 0) - -

6

m

o

30

BULLETIN OF THE PENNSYLVANIA MUSEUM

about 1856. These three examples of Hispano-Mexican glass are particularly

attractive because they have been blown, and not made by modern processes.

There has also been placed on exhibition in the glass department, an

interesting little group of violin-shaped scent bottles, such as are attributed in

SCENT BOTTLES
French, Eighteenth Century

European museums to the seventeenth century and to a glass manufactory
at Orleans. Investigation shows that this attribution is incorrect, as these
little objects are undoubtedly of the eighteenth century, and while probably
of French manufacture, as indicated by the presence of the fleur-de-lis in the
relief decorations, it has been impossible to trace them to any particular manu-
factorv. These little vials are usually dark blue in color, but there are also
examples of clear white glass and amber-colored glass. One example, bearing
in relief a two-headed eagle, is probably of Austrian origin.

Old English wine glasses, which at present are in great demand among
collectors in England, are seldom found in this country. Three typical exam-
ples, however, belonging to the latter half of the eighteenth century, have
recently been added to the Museum collection. Writers on English glass have
divided these interesting objects into groups according to stems, shapes of
feet and and shapes of bowls. The stems may be either plain, consisting of
clear glass, or they may contain twists, known as air twists, white twists or
colored twists, or they may possess knobbed or baluster stems, or the stems

BULLETIN OF THE PENNSYLVANIA MUSEUM

3^

may be cut. The examples recently procured, which are shown in the accom-
panying illustration, have air twist stems of different patterns, the third one
with the conical bowl being drawn, that is, the bowl and stem have been made
in a single piece, while in the other two pieces the stems have been made
separately and attached to the bowl. In addition to these three examples the
Museum also possesses a most interesting little group of English and Dutch
wine glasses with air twist and white twist stems.

There has also been placed on exhibition a little collection of millefiori
glass, in the form of paperweights and mirror knobs, such as were in common

ENGLISH WINE GLASSES
Eighteenth Century

use previous to the Centennial Exhibition. Nearly every family possessed
one or more of these glass balls with brightly colored designs, formed with
patterned glass rods placed side by side, or with thin slices cut from the ends
of the same rods. These most interesting objects show an infinite variety of
designs and colorings. The display includes patterned glass rods and partially
finished specimens illustrating the process of manufacture and the revival
of a very ancient art in modern glass-working. Possessors of such objects
are invited to contribute their specimens to the exhibit, either as gifts
or loans.

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BULLETIN OF THE PENNSYLVANIA MUSEUM

NOTES

New Cases — Five new cases have been purchased to replace the old
cases containing the Alfred Duane Pell collection of European porcelains in
the East Gallery.

Figurines — The Robert H. Lamborn collection of Mexican figurines has
been installed in a room on the north side of the building, where the collections
of dolls are exhibited.

Colonial Fire Engine — One of the earliest hand fire-engines ever used
in Philadelphia has been presented to the Museum by Mrs. Frederic Courtland
Penfield. This interesting historical relic, which is in good state of preserva-
tion, was used for many years at the chemical works of Messrs. Powers and

w-

COLONIAL FIRE ENGINE

Weightman. It is of diminutive size, — four feet wide, by eight feet in length, —
and was worked by two pumping rods which extended along the sides. The
woodwork is much weather-worn but shows evidences of having been at one
time brightly painted, and on a panel at the front end can be faintly traced
a painted "No. i" which seems to indicate that it belonged to the first fire

BULLETIN OF THE PENNSYLVANIA MUSEUM 33

company. This quaint little engine has participated in a number of parades
and is believed to date back to about 1735.

Cover Design — The cover design used on this issue of the Bulletin,
the work of Stanley Zbytniewski, a pupil of the school, was last season awarded
the first prize, offered by Mrs. J. L. Ketterlinus, of the Associate Committee
of Women.

Reception — A reception to the members of the International Congress
of Waterways, which will convene in Philadelphia in the latter part of May,
will be held at the Pennsylvania Museum in Memorial Hall. The members
of the Corporation will be duly notified of the date of the reception.

Furniture Exhibit — Three new alcoves are being constructed in the
furniture room (East Arcade), which will complete the exhibit in that apart-
ment. One of these will be finished in the Gothic style of the fifteenth and
sixteenth centuries, as a background for a display of Gothic furniture, which
has been generously offered by Mrs. John Harrison.

Another alcove will be finished in the Italian Renaissance style of the
seventeenth and eighteenth centuries, in which will be installed the Museum's
group of old Italian furniture. These improvements will be finished in time
for the annual reception in May.

School Notes — Mrs. James Mifflin has presented for the Sketch Class,
a set of costumes consisting of twenty-five complete suits of Venetian, English.
and Continental types, and many parts and accessories, which belonged to a
member of Edwin Booth's company.

The members of the Interior Decoration Class have had, through the
courtesy of Mr. and Mrs. Charlton Yarnall, Mr. Francis T. S. Darlev, Mrs.
Samuel Price Wetherill, and Mr. John H. McFadden, the privilege of inspecting
the decorations in their houses, and the collection of artistic objects gathered
about their apartments, — an opportunitv which has given the pupils much
pleasure and profit.

Over one hundred new pupils entered the Art Department in January and
February.

It is of interest to note that the State Department of Public Instruction
of New Jersey now recognizes the Diploma of the School as sufficient guarantee
of the holders' qualifications for the positions of art teachers in the schools of
that State, to engage them without the State examination, up to this time
exacted of all candidates.

34 BULLETIN OF THE PENNSYLVANIA MUSEUM

Dr. Tames P. Haney, Director of Art Education in the High Schools of
New York, requested an exhibit of plant analyses and applications to design
of forms derived from them, to use in his lectures before the teachers of
the entire city, as examples of a process of study for obtaining original ele-
ments, which is especially developed and practised in this School. In a recent
showing of the work of our students on the Pacific Coast from Southern
California to Oregon, this feature attracted particular attention. This is due to
the fact that so much so-called design is taught simply as a system, a given
formula of space divisions and motives, presented as ready-made elements
to combine ; nd recombine, leading to the work of so many schools looking so
much alike, and making the source of the elements patent.

An exhibition of art reproductions, purchased in Italy for the use of the
Art School from funds presented by the Associate Committee of Women
and Mrs. John Harrison, was held by the Alumni Association for ten days
in attractively arranged surroundings. A comprehensive collection of Byzan-
tine objects is included and will form an important addition to the examples
previously secured. The chief subjects are taken from originals at Ravenna,
of the best type and period, some representing the utilization of the antique
motives in modern adaptations, which elements the students adopt in their
work in cement and clay, and to some extent in silver. Mrs. Harrison's
gift includes three fine bronzes, — a replica of the Fawn with the Wine
Skin, an Etruscan vase, from the Pompeian collection of the Naples Museum,
reproduced in ever)' detail of lava and fire scar, by Marcellini, and a
head of one of the younger Medici, from the original which is in Florence.
A bronze lion's head enrichment of a door, also by Marcellini, is one of the
subjects, and a considerable number of the decorative coats of arms of Floren-
tine families has been selected.

The Illustration Class is the largest ever enrolled and will have a
consistent, strong type of work to mark the end of its first vear under
Mr. Everett.

The exhibit to be sent to the International Art Congress, which meets
every four years, is prepared for Dresden, where the sessions will be held
this season in August. The space is somewhat limited, permitting only forty
mounted examples of work. All the subjects of crafts, — furniture, pottery,
wrought iron, book-binding, etc., — have to be shown in photographs, as the
American Committee has refused to receive actual objects for shipment. This
defeats the showing of the Byzantine jewel caskets in silver, which were
being made by several of the students especially for this exhibition. Another
feature was to have been enameled jewelry, the motives derived from natural
suggestions of plant and insect forms, and among the pottery was to be included
some of the experiments in sgraffito, the old Italian two-layered clay tiles,
so simple and effective as decoration and of which we hope to make a con-
siderable display at our June showing. This form of decoration is also being-
used upon some of the bowl and vase forms in a new manner, and trials are
being made with stoneware clay, with smaltz as the color, in combination with
incised ornaments.

BULLETIN OF THE PENNSYLVANIA MUSEUM
ACCESSIONS

January— April, 1912

CLASS

Antiquities

Ceramics

Enamels
Furniture

Glass

OBJECT

HOW ACQUIRED

Mummified Human Head, Foot, and Hand, An

cient Egyptian lj-ent by the Numismatic and Anti-

Plaster Cast of Tablet from Palenque
Hypocephalus, Ancient Egyptian

li

quarian Society.

Pottery Platter, View of "The Residence of the

Late Richard Jordan," Made by J. Heath &

Company, Staffordshire, England, c. 1835 Bought

Fund.
3 Vases, "Vasekraft" Pottery, Made by the Ful-

per Pottery Company, Flemington, N. J., 191 1 Given by Mr. John T. Morris.

Black Clay Oinochoe, Etruscan ■

White Porcelain Incense Burner, Chinese

Porcelain Vase, Rose Ground, Chinese

Porcelain Tea Jar, Yellow Ground, Chinese

White Porcelain Figure of Quan-Yin, Chinese...

Porcelain Group of Quan-Yin and Two Children,

Chinese

3 Vases, "Vasekraft" Pottery, Made by the Ful-

per Pottery Company, Flemington, N. J., 1911 Given by the Fulper Pottery Company.

Anglo-American Pottery

>Lent by Mrs. Arthur Biddle.

Cream ware Pitcher, With Black Printed Decora-
tion, "Massacre of the French King," Liver-
pool, England, 1795

Bought — Annual Membership Fund.

Pottery Pitcher, Head of Washington and Names
of Fifteen States Printed in Black, Liverpool,
England, c. 1800 Bought — Special Museum Fund.

Cloisonne Enamel Jar and Brush Pot, Japan,

18th Century Bought — Annual Membership Fund.

Table, Tortoise Shell Inlaid With Brass Designs,
Made by Charles Andre Boulle, France, 18th
Century Given by Mr. John H. McFadden.

4 Arm Chairs and 2 Sofas, White and Gold

Wood, Upholstered in Canary-Colored Silk,

France, Period of Louis XVI Given by the Associate Committee of

Women.
2 Arm Chairs, 2 "Conversation" Chairs, and 2^1

Fire Screens, White and Gold Wood, Uphol-
stered in Canary-Colored Silk, France, Period

of Louis XVI I

2 Tabourets, Gilded Wood, Empire Style,

France, c. 1800

Marble Clock with Ormolu Decoration, Made by

Cachard, France, Period of Louis XVI -

2 Clock Dials, Painted in Colors, European, Late

18th Century Given by Mrs. William D. Frishmuth.

Glass Vase, Syrian, Old ^

Mirror Knob, Millefiori Glass, U. S., c. 1850....

Glass Vase, Saracenic, 17th Century

Glass Decanter, Blown in Mould, U. S., c. 1820

Cut Glass Decanter, U. S., c. 1830

Glass Dish, Blown in Figured Mould, U. S., c. )*Lent By Dr. Edwin AtLee Barber.
1820

Purple Glass Bottle, Made by Baron Henry Wil-
liam Stiegel, Manheim, Penna., 1762-1774

Collection of 22 Paper Weights, Millefiori Glass,
etc., U. S., 1848-1878 -

Bought — Annual Membership Fund.

35

BULLETIN OF THE PENNSYLVANIA MUSEUM

ACCESSIONS— Continued

CLASS

Glass

Metal work
Silver

Textiles

Vehicles

Miscellan-
eous

OBJECT

HOW ACQUIRED

Paper Weight, Containing Bits of Colored Glass,
Made by James Gillinder, Philadelphia, c.
i860

Glass Vase, Engraved and Gilded Decoration,
Puebla, Mexico, 18th Century

Cameo Carved Glass Bowl, Nasturtium Decora-
tion, Made by Louis C. Tiffany, New York, 191 1

Dark Red Glass Bottle, With Chevron Decora-
tion, Phoenicia, c. 500 B. C

Pulque Glass and Vase, Carved and Gilded Deco-
ration, Puebla, Mexico, 18th Century

Cameo Carved Glass Snuff Bottle, China, 18th
Century

3 Wine Glasses, Air Twist Stems, England, 18th
Century

Brass Slot Machine, England, Early 18th Century

Silver Teaspoon, Made by N. Olmsted & Son,
New Haven, Conn., c. 1830

Silver Teaspoon, Made by George Baker, Provi-
dence, R. I., c. 1825

Silver Teaspoon, Made by J. O. and W. Pitkin,
Hartford, Conn., c. 1830

Silver Teaspoon, Made by I. Tanguy, U. S., c.

.1825

Silver Teaspoon, Made by Riggs, Philadelphia,
c. 1880

Silver Teaspoon, Made by S. and E. Roberts, U.
S., c. 1830

Silver Teaspoon, Made by J. P. Fireng, Burling-
ton, N. J., c. 1830

Silver Tablespoon, Made by W. Ball, Philadel-
phia, c. 1750

Silver Sauce Ladle, Made by G. K. Childs,
Philadelphia, c. 1837

Silver Sugar-Tongs, Made by William Walker,
Philadelphia, 1796- 181 1

Silver Sugar-Tongs, Made by Allen Armstrong,
Philadelphia, c. 1814

Silver Sugar-Tongs, Made by H. J. Pepper, Phila-
delphia, c. 1835

Silver Tea Pot and Coffee Pot, U. S '

Silver Card Case, Repousse Decoration, U. S.,
1829

Baby's Dress, White Cambric, Hand-Embroidered
Pair of Slippers, Cross-Stitched on Canvas, U.

S-, c. 1850

Pair of Garters, Knit from Red, Black, and Yel

low Wool, Stuttgart, Germany, c. 1812

Brown and White Coat, Ancient Peruvian

7 Dolls

Hand Fire-Engine, Supposed to be the First One
Used in Philadelphia, as Early as 1735

Collection of Potter's Tools, From the Hunting-
ton Pottery, Long Island, Early 19th Century

Plaster Mould for Making Maiolica Plates,
Phcenixville Pottery, Penna., c. 1880

Carved Wooden Busk, U. S,, 1777

Silhouette of Man, William Malsbury, U. S.,
1825

Given by Mr. William T. Gillinder.

Lent by Mrs. Cornelius Stevenson.
Bought — Joseph E. Temple Trust.

^Bought— Special Museum Fund.
Given by Mr. John H. McFadden.

>Lent by Mrs. Edwin AtLee Barbei.

Lent by Mrs, Thomas Skelton Harri-
son.

Given by Mr. Walter Leland.
Lent by Mrs. Edward Robins.

Given by Mrs. William D. Frishmuth.

Lent by the Numismatic and Anti-
quarian Society.
Lent by Miss Mary E. Sinnott.

Given by Mrs. Frederic Courtland Pen-
field.

Given by Miss Clara B. Ray.

Bought —

Given by Mrs. William D. Frishmuth.

Bought —

36

P E N N S Y LVA NIA MUSEUM

AND SCHOOL OF INDUSTRIAL ART

MUSEUM COMMITTEE

John Story Jenks, Chairman
Thomas Skf.lton Harrison
John H. McFadden
John T. Morris
John W. Pepper
r V. Seeler

Edward T. Stotf.sbury
Mrs. W. T. Carter
Mrs. W. D. Frishmuth
Miss Fannie S. Magee
Miss Elizabeth C. Roberts
Mrs. John Harrison, Ex Officio

Miss Anna Blanchard, Honorary
Edwin AtLee Barber, Director of the Museum
Mrs. Cornelius Stevenson, Assistant Curator and Lecturer

HONORARY CURATORS

Textiles, Lace and Embroidery Mrs. John Harrison

Oriental Pottery Mrs. Jones Wister

European Porcelain Rev. Alfred Duane Pell

Arms and Armor Cornelius Stevenson

Furniture and Woodwork Gustav Ketterer

Musical Instruments Mrs. W. D. Frishmuth

Prints, Book Plates and Historic Seals Charles E. Dana

Numismatics F. D. Langenheim

Sculpture. Marbles and Casts Alexander Stirling Calder

instruction committee

Theodore C. Search, Chairman
Charles Bono
Isaac H. Clothier
Charles E. Dana
Thomas Skelton Harrison
John Story Jenks
Edgar V. Seeler
(ones Wister

Mrs. John Harrison, Ex Ofl'u-in

William Wood
Mrs. Rodman B. Ellison
Mrs. F. K. Hipple
Mrs. Thomas Roberts
Mrs. Joseph F. Sinnott
Mrs. C. Shillard Smith
Mrs. John Wister
Mrs. Jones Wister

ASSOCIATE COMMITTEE OF WOMEN TO THE BOARD OF TRUSTEES

president
Mrs. Tohn Harrison

vice-president
Mrs. Edward H. Ocden

SECRETARY

Mrs. C. Shillard Smith

TREASURER

Mrs. Joseph F. Sinnott

Mrs.
Mrs.

Edwin Swift Balch
Rudolph Blankf.nburc
Louise W. Bodtne
Jasper Yf.ates Brinton
John H. Brinton
William T. Carter
Margaret Clyde
Margaret L. CorLIES
Ada M. Crozer
D-wiD E. Dali.am

Mrs. Rodman B. Ellison Miss

Countess Santa Eulalia Mrs.

Miss Cornelia L. Ewing Mrs.

Mrs. W. D. Frishmuth Mrs.

Mrs. W. W. Gibbs Mrs.

Mrs. C. Leland Harrison Miss

Miss M. S. Hinchman Mrs.

Mrs. F. K. Hipple Mrs.

Mrs. J. L. Kettfri.inus Mrs.

Miss Nina I Mrs.

Fannie S. Macee
Arthur V. Meics
James Mifflin
Francis F. Milne
John W. Pepper
Elizabeth C. Roberts
Thomas Rouerts
Cornelius Stevenson
John Wister
Jones Wister

HONORARY MEMBERS

Mrs. M. Hampton Todd

Miss Anna Blanchard